Casting a Movement, #Movement, #sponsored, #Casting, #Ad
10 years after its final season aired, six of the stars share their memories on Showtime's pioneering TV show
Examining political performances' spatial arrangements, casting of roles, authorization of speech, oratorical techniques, styles of movement, behavioral conventions, and audience reactions, this book shows how nineteenth-century activists innovatively connected performative forms to critical content in order to make their activism more effective.
Details Artwork Artist Art Centre Authenticity Guarantee Details Aboriginal Artist - Selma Coulthard Nunay Community - Hermannsburg Aboriginal Art Centre - Iltja Ntjarra / Many Hands Art Centre Catalogue number - WAC285-18 Materials - Watercolours on watercolour board Painted Size(cm) - H33 W25.5 Postage variants - Artwork posted flat unframed Orientation - As displayed Artwork Landscape of Urrampinyi (Tempe Downs Station) in the Northern Territory Artist Selma grew up in Hermannsburg where she went to school with fellow artist Ivy Pareroultja. She is an accomplished acrylic artist and has recently started painting in watercolour. Selma states about herself: “My name is Selma Coulthard. My Aboriginal name is Nunay. I am a Pertama Maduthara Luritja Tribe from Urrampinyi (Tempe Downs Station) which is located South West of Alice Springs in Central Australia. I was born in Alice Springs in 1954 and grew up at Tempe Downs until the Government started to remove half caste kids from their families and put them in mission boarding homes. I was taken to Hermannsburg (Ntaria) where I did my schooling. It is here that my love for art started when I saw the Namatjira brothers doing their painting in Ntaria and around tourism camps such as Glen Helen and Palm Valley. I have always wanted to be an artist and I just hope that my work will be recognised. No work is the same each piece is unique in its own right. I have created artwork based on my stories: my work on Mulga Spinifex Country, my country where I grew up and lived – Urrampinyi (Tempe Downs), the oasis in the Desert at Urrampinyi, running Waters at Irrmakara, spiritual keepers of our land, my dreaming – the Thorny Devil, animals in my country, paintings depicting women’s ceremonial site (business) and more.” Art Centre Iltja Ntjarra / Many Hands Art Centre is proudly Aboriginal owned and directed. It is the home of the Namatjira watercolour artists. The Art Centre was established by Ngurratjuta/Pmara Ntjarra Aboriginal Corporation and started operating in 2004, as a not-for-profit Art Centre to provide a place for Arrernte Artists to come together to paint, share and learn new techniques and ideas. The Art Centre is strongly committed to improving economic participation of Aboriginal people and maintaining cultural heritage. Iltja Ntjarra has a special focus on supporting the ‘Hermannsburg School’ style watercolour artists, who continue to paint in the tradition of their grandfather and relative, Albert Namatjira, arguably one of Australia’s most famous artists of the 20th century. Albert Namatjira taught his children to follow in his unique style, who have since passed this knowledge on to their children, which has resonated in a legacy of watercolour artists in the Central Desert region. By continuing his legacy, these artists sustain an important piece of living history. Iltja Ntjarra is proud of its ethical work practices and aims to return the greatest possible percentage of sales to the artist. In June 2016, Iltja Ntjarra Aboriginal Corporation (ICN 8426) was newly incorporated by the Arrernte Artists associated with the Art Centre and in August 2016, the Ngurratjuta/Pmara Ntjarra Aboriginal Corporation transferred the not-for-profit Art Centre business to Iltja Ntjarra Aboriginal Corporation. Iltja Ntjarra acknowledges the role of Ngurratjuta/Pmara Ntjarra Aboriginal Corporation to the establishment and development of the Art Centre and thanks it for its ongoing support. The things that are most important to us are: The watercolour painting style The watercolour painting style To welcome all landscape artists to paint with us To welcome and encourage youth to paint with us To pass down stories about our country and culture To teach about the legacy of the Hermannsburg School of Watercolour art movement To tell stories of learning from our grandfather and relative Albert Namatjira To support and keep culture strong To promote the effective and ethical sale of artworks To provide increased economic benefit directly to the artists through sales, professional development, exhibitions and marketing Test courtesy, Iltja Ntjarra / Many Hands Art Centre Authenticity Guarantee We take great pride in offering high-quality, authentic Aboriginal Art pieces to you. However, we are aware that there have been instances (and recent press relating to the unaffiliated APYACC) in the Aboriginal Art market where the authenticity of some artworks has been called into question. We want to assure you and all of our customers that we firmly stand behind the authenticity of every artwork we sell. In addition to our extended 120 days standard returns, we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present. This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that they are getting what you paid for. As part of our commitment to authentic Aboriginal Art, we work with reputable Aboriginal Art centres that we know are committed to maintaining the integrity of Aboriginal Art. Additionally, we continually monitor all aspects of the Aboriginal Art market and are acutely aware of, and are proactive in addressing any issues arising. We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If you have any concerns about the authenticity of any art piece you purchased from us, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork we have sold we will happily provide a full refund to you at any time in the future outside of our standard returns policy. Thank you for choosing ART ARK® for your Aboriginal Art purchasing. We are honoured to provide you with authentic, high-quality art pieces and look forward to continuing to serve you.
Your complete guide to the week’s television, films and sport, across terrestrial and digital platforms
Coderch & Malavia sculpt dancers and graceful figures, capturing fleeting movements in patinaed bronze.
Crucial questions around healing, cultural identity, and disability are among the many subjects visited by Thanya Iyer's sophomore album, KIND. Although represented by a concise title, KIND explores an expansive universe where Iyer and her band examine interpersonal relationships, ideas of home and destination, and our collective responsibilities to one another. To aid in this journey of big, difficult questions, Iyer enlists the help of a huge cast of musicians, with guest features ranging from brass trios, vocal sextets, flautists, and harpists. Underscoring it's explorative nature, the constant movement of KIND melds the sounds of experimental pop and improv into a magical amalgam that teems with flashes of jazz and nuanced electronics. Iyer's rhythm section pulsates with genre-defying palettes of blips and skitters that twist elegantly into the melodic voices of interlocking synth, strings, and piano, allled by Iyer's enrapturing lilt. The rhythmic direction of bassist Alexander Kasirer-Smibert and percussionist Daniel Gélinas clears a navigable path in an otherwise unnavigable setting, built on the pair's understated yet intriguing expertise. The most succinct distillation of the album's themes is perhaps found in KIND's tracklist. Please Don't Hold Me Hostage for Who I Am, Who I Was and Bring Back That Which is Kind to You inspire philosophies of self-care and emergent reconfigurations of justice, calling on listeners to self-reflect and detach from our preconceptions of ourselves and our identity. At the end of it's course, KIND arrives at the conclusion of acceptance and resolve: acceptance of our collective circumstance, and the resolve to make the choice to do better
Coderch & Malavia sculpt dancers and graceful figures, capturing fleeting movements in patinaed bronze.
OIL ON CANVAS LAID ON BOARD OF SHIP ON HARBOR SCENE , SIGNED J.GUTHRIE , 98' LOWER LEFT , SET IN DAVID BRAND , GLASCOW GILT FRAME - 24" x 16" , 34 1/2" x 26 1/2"
Immerse yourself in the vibrant hues and fluid forms of this abstract interpretation of Anstruther Harbour at dusk. This evocative print captures the quieting glow of the setting sun as its deep, fiery orb sinks into the horizon, casting a dance of colours upon the idyllic, yet spirited waterscape. The waters themselves are a wash of blues and blacks, with strokes of reflection adding depth and movement to the scene. The harbourside buildings are rendered in a patchwork of pastel yellows, pinks, and blues. The cheerful hues break free from the constraints of rigid form, suggesting a quaint township that's as enigmatic as it is charming. The architectural forms, while suggested by blocks of colour and mere hints of structural lines, evoke the spirit of the seaside town without surrendering to the bounds of realism. The composition of the scene, with its swirling sky and the panoramic spread of the harbour town, evokes a sense of tranquillity amidst the abstract expression. It is a celebration of colour, light, and form, offering a unique and modern take on the classic landscape. Whether as a focal point for contemplation or a vibrant splash to energise a space, this print invites viewers into a world where imagination fills the sails of boats and paints the town alive as day fades into the beautiful whispers of dusk.
"Race" is often used as a fundamental way to understand American history. But what if "caste" is the more appropriate lens? In conversation with Pulitzer Prize winner Isabel Wilkerson, we examine the hidden system that has shaped our country.
